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BTS 132The Art Salon in the Arab Region

Nadia von Maltzahn

Monique Bellan

ISBN 978-3-95650-527-0

ISSN 1863-9461This volume discusses the emergence and role of the art This volume discusses the emergence and role of the art salon in the Arab region in the nineteenth and twentieth salon in the Arab region in the nineteenth and twentieth centuries, focusing on Algeria, Tunisia, Egypt, Lebanon and centuries, focusing on Algeria, Tunisia, Egypt, Lebanon and Iraq. Institutional forms of exhibiting and teaching art emerged Iraq. Institutional forms of exhibiting and teaching art emerged in the Middle East and North Africa in late colonial and early in the Middle East and North Africa in late colonial and early post-colonial contexts. The book examines how the salon had post-colonial contexts. The book examines how the salon had

an impact on the formation of taste and on debates on art, an impact on the formation of taste and on debates on art, and discusses the transfers and cultural interactions between and discusses the transfers and cultural interactions between the Middle East, North Africa and Europe. Following the the Middle East, North Africa and Europe. Following the institutional model of the Paris salons, art salons emerged in institutional model of the Paris salons, art salons emerged in Algiers, Tunis and Cairo starting in the late 1880s. In Beirut, Algiers, Tunis and Cairo starting in the late 1880s. In Beirut, the salon tradition reached its peak only after independence in the salon tradition reached its peak only after independence in the mid-twentieth century. Baghdad never had a formal salon, the mid-twentieth century. Baghdad never had a formal salon, but alternative spaces and exhibition formats developed in but alternative spaces and exhibition formats developed in Iraq from the late 1940s onwards. As in Paris, the salons in Iraq from the late 1940s onwards. As in Paris, the salons in the region often dened the criteria of artistic production and the region often dened the criteria of artistic production and public taste. The impact of the salon also lay in its ability to public taste. The impact of the salon also lay in its ability to convey particular values, attitudes and aspirations. At the convey particular values, attitudes and aspirations. At the same time, the values and attitudes promoted by the salon same time, the values and attitudes promoted by the salon - as well as the salon itself - were often subject to debate, - as well as the salon itself - were often subject to debate, which led to the creation of counter-salons or alternative which led to the creation of counter-salons or alternative

exhibition practices. The art salon helps us to understand exhibition practices. The art salon helps us to understand changes in the art systems of these countries, including changes in the art systems of these countries, including the development of art schools, exhibition spaces and artist the development of art schools, exhibition spaces and artist societies, and gives insight into the power dynamics at play. societies, and gives insight into the power dynamics at play. It also highlights networks and circulations b etween the Arab It also highlights networks and circulations b etween the Arab region and Europe.region and Europe.About the editors: About the editors: Nadia von MaltzahnNadia von Maltzahn

is the Deputy Director of the Orient- is the Deputy Director of the Orient-

Institut Beirut (OIB). Institut Beirut (OIB).

Monique BellanMonique Bellan

is Research Associate is Research Associate

at the OIB. Both are interested in artistic practices and the at the OIB. Both are interested in artistic practices and the circulation of knowledge.circulation of knowledge.

Edited by Nadia von MaltzahnEdited by Nadia von Maltzahn Monique Bellan The Art Salon in the Arab RegionPolitics of Taste MakingOrient-Institut BeirutOrient-Institut Beirut

Beiruter Texte und Studien 132

BAND 132

Acknowledgements

Note on Contributors

Nadia von Maltzahn

Part I: Early Salons and the Politics of Taste Making: North Africa

Alain Messaoudi

Jessica Gerschultz

Nancy Demerdash-Fatemi

Part II: Early Salons and the Politics of Taste Making: Egypt

Maria-Mirka Palioura

Nadia Radwan

Monique Bellan

Amin Alsaden

Part IV: Circulations and Guidance

Camilla Murgia

Catherine Cornet

Nadia von Maltzahn

region, and to deliberate on the function of the art salon today in the context of a museum and its collection. In October 2017 we convened a two-day conference on "The Art Salon in the Arab Region." We would like to warmly thank all the participants in these discussions, the value of which went far beyond the panels themselves: Amin Alsaden, Hala Auji, Gregory Buchakjian, Eileen Cooper, Catherine Cornet, Nancy Demerdash-Fatemi, Abed al-Kadiri, Kristine Khouri, Alain Messaoudi, Morad Montazami, Marie Muracciole, Camilla Murgia, Silvia Naef, Maria- Mirka Palioura, Dina A. Ramadan, Nora Razian, Ghalya Saadawi, Kirsten Scheid, Nada Shabout, Nayla Tamraz, Eva Maria Troelenberg, and Amar A. Zahr. Our special gratitude goes to the Sursock Museum, Zeina Arida, Rowina Bou-Harb, Yasmine Chemali, and Sasha Ussef, and we are extremely grateful to the Volkswagen Foundation for supporting the conference and contributing to publication costs. We would also like to thank our interns Ida Forbriger, Talha Güzel, Pauline Hahn, Hans Magne Jaatun, Daniel Lloyd, Turina Schilling, their support - in particular Torsten Wollina for his insightful comments and bringing this publication to light, as well as Virginia Myers for her expert copy-editing. The BTS Advisory Board's critical input and the peer- reviewer's constructive feedback greatly enriched the volume.

Beirut, November 2018

Nadia von Maltzahn and Monique Bellan

Amin Alsaden

Monique Bellan

dismember remember: The Anatomical Theatre of Lina

Saneh and Rabih Mroué

Eileen Cooper

Catherine Cornet

Internazionale

and Power in Egypt after 2001." She studied Middle Eastern Politics and Islamic Art at the School of Oriental and African Studies (SOAS), London, and Political Sciences at the Institut d'Etudes Politiques in Aix- en-Provence.

Nancy Demerdash-Fatemi

is an Assistant Professor of Art History in the Department of Art and Art History at Albion College, Michigan. An art an d architectural historian, her interests centre on the modern and contemporary visual cultures of the Middle East and North Africa, as well as on post- colonial studies, diaspora and memory studies. Her current book project explores the spatial and political implications of modernist architectural schemes and urban plans in late French colonial Tunisia. Demerdash-Fatemi earned an MSc in Architecture Studies from the Aga Khan Programme of Islamic Architecture at the Massachusetts Institute of Technology, and a PhD from the Department of Art and Archaeology at Princeton University.

She has published in

New Middle Eastern Studies

, the

Journal of North

African Studies,

the Journal of Arabian Studies, and Perspective: actualité en histoire de l'art , among others. She is also an assistant editor with the

International Journal of Islamic Architecture.

Jessica Gerschultz

is an Assistant Professor in the Department of African and African-American Studies at the University of Kansas. She researches African and Arab articulations of modernism with an emphasis on tapestry. She was an ACLS (American Council of Learned Societies) ҹҹҹҹҹҹҹҹҹҹDecorative Arts of the Tunisian École (Pennsylvania State University Press, forthcoming). She has written articles for ARTMargins (2016), the International Journal of

Islamic Architecture

(2015), and

Critical Interventions: Journal of African

Art History and Visual Culture (2014).

is the Deputy Director of the Orient-Institut

Beirut (OIB). She is the author of

The Syria-Iran Axis: Cultural Diplomacy

and International Relations in the Middle East (I. B. Tauris, 2013/2015), and other publications revolving around cultural practices in Lebanon and the Middle East. She holds a DPhil in Modern Middle Eastern Studies from St Antony's College, Oxford. Her research interests include cultural policies and urban governance, artistic practices and the circulation of knowledge. Her current research project deals with cultural policies in Lebanon, in particular cultural institutions and their role in the public sphere.

Alain Messaoudi

is a Lecturer in Modern History at the Université de

Nantes. He is the author of

Savants, interprètes, médiateurs. Les arabisants et la France coloniale (1780-1930) (ENS Éditions, 2014), and currently works on cultural transfers between North Africa and Europe, in particular the exchanges in the visual arts between Tunisia and France. He holds a PhD in History from the University of Paris 1 Panthéon-Sorbonne.

Camilla Murgia

is Junior Lecturer in the History of Contemporary Art at the University of Lausanne. She studied Art History at the Universiti es of Neuchâtel (MA) and Oxford (PhD), with a doctoral thesis on Pierre-Marie Gault of Saint-Germain (1752-1842). She was a Junior Research Fellow in the History of Art at St John's College, Oxford, and has taught at Oxford, Neuchâtel and Geneva universities. Murgia is interested in the visual and material culture of the "long nineteenth century" and particularly its various events in France and England. She has published numerous books and articles. Maria-Mirka Palioura studied French Letters and Art History and has a BA and PhD from Athens University and an MA from the University of Paris I Panthèon-Sorbonne. She has edited two books and presented several conference papers on nineteenth-century Greek art. She has taught at the Athens School of Fine Arts, the Hellenic Open University and has worked in the Greek Ministry of Culture. She is a Member of the Hellenic Association of Art Historians and is currently working in the Finopoulos Collection

Benaki Museum, Athens, Greece.

Nadia Radwan

is an art historian specialising in modern art and architecture in the Middle East, who obtained her PhD at the University of Geneva. She was Assistant Professor of Art History at the American University in Dubai, and is currently Assistant Professor of World Art History at the University of Bern. Her research focuses on cross-cultural interactions and artistic modernities in the Middle East, as well as on curatorial dynamics and cultural practices in the United Arab Emirates.

Radwan is the author of

Les modernes d'Egypte (Peter Lang, 2017) and has

published many articles about modern and contemporary Arab art.

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NADIA VON MALTZAHN

This volume discusses the emergence and role of the art salon in the Ara b region in the nineteenth and twentieth centuries, focusing on Algeria,

Tunisia, Egypt, Lebanon and Iraq.

1

The institutional forms of exhibiting

and teaching art migrated from Europe to the Middle East and North Afric a in the late colonial and early post-colonial context and developed into stories of their own, while artists circulated between these regions. The various chapters examine how the salon had an impact on the formation of taste and on debates on art, and discuss the transfers and cultural interactions between the Middle East, North Africa and Europe. Following the institutional model of the Paris salons, art salons emerged in Algie rs, Tunis and Cairo starting in the late 1880s. In Beirut and Damascus the s alon tradition reached its peak only after independence in the mid-twentieth century. Baghdad never had a formal salon, but alternative spaces and exhibition formats developed in Iraq from the late 1940s onwards. The salons in the region - like their Parisian predecessors - ofte n new societal practices. The impact of the salon also lay in its ability to convey particular values, attitudes and aspirations. At the same time, t he values and attitudes promoted by the salon were subject to debate, which led to the creation of counter-salons or alternative exhibition practices. The role of the salon evolved within the context of the artistic landsca pe in each city, which in turn was determined by local political and econom ic imperatives. Thus the art salon helps us to understand changes in the art systems of these countries, including the development of art schools exhibition spaces and artist societies, and gives insight into the power 1 guages. It is understood as a geographical term with no ethnic implications. Unless oth- erwise indicated, this introduction is based on the information provided in the chapters in this volume. For further reading, please refer to the selected bibliography at the end of the book. dynamics at play. 2 It also highlights networks and circulations between the Arab region and Europe. The art salon is understood as a group exhibition of art that takes plac e on a regular - generally annual or biannual - basis, in which work s are chosen by a jury or selection committee. It showcases contemporary artis tic production and is generally widely reviewed in the press. Participating in a salon has often constituted an important step for artists in gettin g their works recognised. Many salons have handed out prizes to further institutionalise taste. The Arabic term for art salon has usually been simply "exhibition" ( ma'rad 3

The Arab region has had a long tradition

of scholarly, social or literary gatherings ( majlis , pl. majalis ) that have been referred to as salons. 4

Art salons showed similarities to these earlier

gatherings, and constituted a (regulated) public sphere in which debat es took place, styles were circulated, and a shared tradition was establish ed.

However, with few exceptions

5 the model for the art salon in the Arab 2 For an engagement with questions of modernity and exhibition practices, see Naef, Sil- via. A la recherche d'une modernité arabe : L'évolution des arts plastiques en Egypte, au Liban et en Irak. Geneva: Éditions Slatkine 1996; Shabout, Nada. Modern Arab Art:

Formation of Arab Aesthetics

. Florida: University Press of Florida, 2007; Winegar, Jessica. Creative Reckonings: The Politics of Art and Culture in Contemporary Egypt.

Stanford CA: Stanford University Press, 2006.

3 There are a few exceptions, including the Cairo Youth Salon (launched in the late

1980s), which directly transcribed the term "salon" in Arabic (salon al-shabab). The

2014, also retained the term "salon" (salun al-kharif al-dawli bi-tunis).

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